MOUNTAIN
GORILLA
THE
MAKING OF THE IMAX FILM
by
Adrian Warren (Director)
Mountain Gorilla (Gorilla
g. beringei), Virunga Volcanoes, Rwanda
The gorillas cooperated
but the guerillas did not. When war erupted in the tiny central African
country of Rwanda in September 1990, it added a new dimension of difficulty
to the already arduous task we had set ourselves of filming mountain gorillas
with IMAX equipment. The aim was to try, for the first time, to make a
film on the natural behaviour of wild animals for the giant screen format
of IMAX/OMNIMAX. For the uninitiated, the IMAX screen is approximately
seven stories tall and is "flat"; the OMNIMAX screen is even
larger and is dome-shaped: both fill the peripheral vision of the audience
in the theatre and that, linked with a very sophisticated three dimensional
sound system offers a sensation that is close to reality.
We knew it would not be
easy. We had just finished another film on Mountain Gorillas the year
before, a co-production for the BBC Natural History Unit and WNET New
York, on the 16mm format, so we knew what we had in store for us. Steep
mountainsides, altitude, cold, rain, mud, stinging nettles, and up to
four hours climbing each day before we would even be in a position to
start filming the gorillas - that is, if they decided to be cooperative.
Neil Rettig with IMAX
Camera
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HAGENIA FOREST, Mountain Gorilla
Habitat
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Now add to that the burden
of heavy equipment - the IMAX camera alone weighs fifty kilos; the battery
another fifteen; the tripod a further thirty or so; an expensive 300 metre
roll of film lasts a mere three minutes with a slow, laborious process
to re-load; the lenses are wide angle which means you have to be close
to your subject; focus and exposure are critical - especially with gorillas
that are essentially black and soak up the light; and, as if all that
is not enough, the camera is noisy. There were those who told us we were
mad, one prospective crew member asked us if we were going to build a
pen to keep the gorillas in one place - when we told them it would be
impossible to "control" the gorillas and that if we tried to
pressure them we would be asking for trouble, they just shook their heads
in disbelief. It would be a question of patiently and persistently following
the gorillas across the mountain hoping for an opportunity to record interesting
behaviour, but not necessarily the first thing that happens; whatever
we filmed had to fit a storyline within the tight constraints of a fixed
budget. Natural history film-making teaches you about patience and persistence
and I decided, for obvious reasons, to invite essentially the same dedicated
group of people that worked with me on the previous gorilla film to join
me for this one.
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